My first plastic experiments began in 2006 with the suite of paintings/collage: Reminiscence. Human was already at the center of my artwork. I then sought in the production of the painted canvas to emphasize the symbolism of the links between human beings. The family, as a social group with its own rules of operation, was my main source of inspiration.
The paradox was already at the heart of my work. The contradictory aspect of the form and the content concerns me and holds all my attention: I seek the “weaving of the link between visible and invisible, private and public, intimate and political” as Sonia Recasens explains*.
The soft (deliberately uncertain and sometimes naive) form of fine lines (graphite, felt pen, ink), clear and evanescent colors (watercolor) on used fabrics and white papers juxtapose themselves to a deeply violent, grave and interrogative background, To produce a soft ambiguity and an antinomy open on a multitude of possibilities . I draw the elements of my creation from the mythologies of childhood and family, tale and magic thinking but also in the theme of women, their societal role, by tradition, procreative, smuggler and creative of links.
The gesture of sewing and embroidery brings fragility barely concealed. It produces traces of temporal distortion, those of time spent piercing paper or fabric … By this somewhat violent gesture, the paper (or fabric) resists, time elongates, a space opens itself, a artwork is created …
Then, the sewing and the embroidery are no longer ornament or embellishments. They become suture, scar, piercing and also enclosure, that of the woman whose place remains limited and confined to secularly established biological and domestic functions …
*De l’art de tisser des liens/quand les femmes révolutionnent les arts textiles.